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Marlis Petersen, I believe

This is bad singing sorry

4:06

Voice is not very big, nor does it have squillo, focus, clarity and correct vibrato.

WOBBLE de lux

Amazing 🤩

De acuerdo con usted. La mejor wagneriana de todas. La he escuchado en NYC, Londres y Madrid, y su rendición de Tristan und Isolde hace llorar, sobre todo el preludio.

La escuché en vivo por primera vez como Isolda en la Deutsche Oper hace una semana! Impresionante voz.

Remember that his primary audience won't be seeing him though camera close-ups, but from a distance in the hall. To the extent he is "over-acting,"{ a lot of that could just be that he has to make whatever he is doing come across in a large opera house. Stage acting must always be larger than film acting.

In my opinion Filończyk’s character PIERROT is “performing” in front of this friends. I don’t understand why jealous IGNORANTS see only overacting and not think about interpretation and staging. If You look closer at the other singers they MOCK his movements. People like @Berlindefined destroy opera world by being flat minded.

@@markpkessinger I know all that, thanks. But trust me - you can see bad acting as far as to the 3rd balcony.

Absolutely. She already admitted that some of the rep seemed big to her- she started as a mezzo, so when you stretch the voice to its limit, of course it’s going to age, just like everything else lol

You are just an amateur who doesn't understand singing. A "killgissare"

Let me hear you sing and I can tell you what's your real problem. It has nothing to do with young or old voices I can tell you! It goes much deeper than that. You don't understand how to listen to opera.

Her voice wasn’t massive around 1993. It was fine as Sieglinde when I heard her live 2005 but already in trouble when starting the Brünnhilde/Elektra journey some years after.

When she was 56 she said that she had a packed scedual until she is 60 (she is 58 now) and then she may not be as active. She has said to her children that she will stop to sing when she get’s grandchildren.

Exactly! She's an amazing artist and you have to experience her live. She's even better now than 20 years ago!

I think that to say no one has sang the Liebestod as her (even at her prime) is an overstatement. I have heard her Isolde many times (including her Bayreuth Debut - when she was at her prime) and she was a fine Isolde, but not to be compared with Flagstad, Varnay, Moedl, Nilsson, Behrens, Stemme doesn't stand a chance.

@@Wotan123456789 Thanks. Tell the world.

... and looking forward to hear her as Isolde in may at the Teatro Massimo in Palermo ❤

The issue is not the support of orchestra, conductor etc. It is her voice!!!

She was good Isolde but far from being the best!

Wagner didn’t write a single accelerando (or ritardando) throughout the entire Liebestod (which he actually called Verklärung). Conductors have gotten in the habit of being very innovative with the tempo here, and Wagner wrote nothing of the sort. So if you’re blaming Stemme’s poor performance for the lack of tempo alterations, that’s not it (not that I love the conductor or the orchestra’s playing at all).

@@Wotan123456789 I disagree, but who, in your opinion is the best Wagnerian soprano? I liked Montserrat Caballe and Jessy Norman, but so many of the good ones are sadly gone😞

@@fthornberry3032 What do you disagree on? Caballe sang Isolde only for a run of performances in Madrid very late in her career, as extraordinary a singer she was, Isolde was not a role for her. Jessye Norman never sang Isolde live. If you want to hear superlatives Isoldes caught on record you can hear (among others) Kirsten Flagstad, Marjorie Lawrence, Astrid Varnay, Martha Modl, Birgit Nilsson, Hildegard Behrens as great performers of this role.

Nilsson should not be compared to anyone. She was in a league of her own

Nilsson actually sent letters to Stemme and congratulated her in front of many people, even called her "the best Senta she had ever heard". But also Nilsson was a league of her own.

@@rosalie6468 I doubt that that is accurate. Nilsson's favorite Senta was her longtime friend Leonie Rysanek (also Nilsson's favorite Sieglinde, Kaiserin, Chrysothemis).

​@@Wotan123456789"Even though Birgit Nilsson had left the stage in the 1990s, she likely had not only an understanding but also a certain influence on opera life. When Stemme sang Senta in Wagner's "The Flying Dutchman" at the Metropolitan Opera in New York, Nilsson followed it live and sent a fax to Stemme, but in English so everyone could read that this was "the best Senta she had ever heard" ."

​@@Wotan123456789I didn't say that she was her favourite. Bet she must have thought that she was a pretty good Senta in order to write that

Yeah, you don't get to criticize when you don't even know what the correct terminology is.

@@DigiDestined13 Lovely comment. So what is the difference between vibrato and wobble? I feel a bitter lemon taste here...... :)

@@mikaelb7735 This is a wobble. You’re right.

@@draganvidic2039 Thank you dear!!! Keep well!

Get a life

Please use the proper terminology. It's called a vibrato, and many of us singers come by it naturally.

@@DigiDestined13 Vibrato is something else sorry. This is a wobble party.

You don't know what you're talking about so please keep your ignorant mouth shut.

@@draganvidic2039 👎👎👎

@@draganvidic2039 the orhestra is by the way toooo strong and close. And the interpretation is cold from the musicians.

Comme l'un des grands ténors de l'histoire!